Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s3: Votaries Bringing Offerings and Adoring the Buddha
Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s3
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Votaries Bringing Offerings and Adoring the Buddha
v2.c8.s3.1
Plate VIII *a-b
v2.c8.s3.2
The subject is painted on the back wall of the veranda, to the right of the door. As the fresco is much damaged, it is reproduced in monochrome only.
v2.c8.s3.3
ON walls adjoining the main doorway, the artists of Ajanta have invariably painted votaries, human and celestial, bringing offerings to the Buddha or adoring the Great Being. The subject of this Plate would seem to have been an attractive scene of this kind, for the few traces which remain exhibit much grace and beauty.
v2.c8.s3.4
Near an *aśoka* tree, which is admirably painted, we notice a pair of flying figures; the male figure has almost perished, but the bust of the female (*Apsaras*) is preserved, and the doubled-up arm, elbow resting on hip, and the curve of the waist, gracefully inclined in the act of flying, are veritably a *tour de force* of the Ajanta School. The body has been painted in the round, the effect being gained by washes of deeper tints. The delineation of the fingers also shows much feeling and skill, but the abundance of jewellery attracts the eyes from the charm of a gracefully developed body, which is painted almost nude.
v2.c8.s3.5
To the right of the *Apsaras* were the figures of some votaries in the act of adoration. These have almost perished, and what is left now is the hand of a woman making a loop with her fingers, and a monk squatting on the ground with legs crossed (*b*). The drawing of the hand of the woman is exquisite, showing suppleness and feminine charm, but a greater feat is the delineation of the back of the monk, which is absolutely masterly. The care of the artist in attending to the minutest detail may be judged from the drawing of the toes of this figure.